6/11/14
Media Specific Analysis, Story Land ELC
Carrie Camargo
Melissa Green
Overview
Story Land (ELC) is one of the oldest forms of digital writing. It was created by Nanette Wylde in 2002. There is a circus theme that features a sampling of recombinant narratives. They have repetitive plots that feature social stereotypes and elements of pop culture. Each line is constructed from a collection of possibilities. A popular circus tune plays at the introduction of the Story Land heading each time a narrative is refreshed.
Author
Nanette Wylde is a conceptual artist, writer and cultural worker making socially reflective, language-based works generally in hybrid media. She has a BA in Behavioral Science from San Jose State University. Her MFA is in Interactive Multimedia from Ohio State University. She is Professor of Art & Art History at California State University, Chico where she developed and heads the Digital Media/Electronic Arts Program. Information retrieved from: http://rhizome.org/profiles/nanettewylde1/
Textual Features
Recombination of text--new story every time but some lines and characters reappear in subsequent stories
Distinct paragraphs indicated by spacing--some are one line some are three or more
Text appears after the sound and colorful intro ends
Simple font
Distinct pattern of text generation:
First "paragraph" introduces a character followed by a statement that produces a conflict or problem for that character
Second "paragraph" is where a specific result occurs
Third "paragraph" involves a new character who interacts with the initial character in a similar manner to the conflict posed in the first
Fourth "paragraph" Introduces a third character with a new problem/conflict that is unrelated to the previous conflict/problem.
Fifth "paragraph" is where another specific result occurs which is different from the initial one introduced in paragraph two
Sixth "paragraph" focuses on how each of the characters feel about he other as a result of the experience
typically the third character feels some way about the first character and the second character feels some way about the third
Media Features:
Multi-colored/flashing heading arched like a circus tent
Colors mimic flashing lights at a circus
Basic black screen with white lettering, which is at odds with the heading
Lines of the narrative appear one at a time
Reader has no control over line addition
The screen does not advance automatically
The multi-colored Story Land heading reappears and flashes when the reader clicks to begin a new narrative
Reading Experience Mostly passive interaction by the "reader" as there is no control able to be exerted over the textual environment once it begins. The lines appear at an easily readable rate that invites the reader to try to create meaning between each section of text. There is time for reflection at the end of the piece as the interactor must press "new story" to move on to another narrative. The focus of interaction is primarily based on attempting to establish coherent meaning between the various sections of the narrative which is sometimes, simply not possible.
Analysis/Interpretation Story Land (ELC) mirrors pop culture in the repetition and recycling of narratives and characters. Sarcasm is present within the characters and situations presented as well as in the the underlying theme of the e-literature. The reader may try to connect the lines of text into a coherent narrative with varied success rates. The interaction with the narrative takes place in a cognitive space and has less to do with sensorimotor input.
Pedagogical Implications This work could be used as an introduction to digital literature because the formula mirrors elements found in a short story. It could also be used to redefine how we read and make sense of narrative.
Media Specific Analysis, Story Land ELC
Carrie Camargo
Melissa Green
Overview
Story Land (ELC) is one of the oldest forms of digital writing. It was created by Nanette Wylde in 2002. There is a circus theme that features a sampling of recombinant narratives. They have repetitive plots that feature social stereotypes and elements of pop culture. Each line is constructed from a collection of possibilities. A popular circus tune plays at the introduction of the Story Land heading each time a narrative is refreshed.
Author
Nanette Wylde is a conceptual artist, writer and cultural worker making socially reflective, language-based works generally in hybrid media. She has a BA in Behavioral Science from San Jose State University. Her MFA is in Interactive Multimedia from Ohio State University. She is Professor of Art & Art History at California State University, Chico where she developed and heads the Digital Media/Electronic Arts Program. Information retrieved from: http://rhizome.org/profiles/nanettewylde1/
Textual Features
typically the third character feels some way about the first character and the second character feels some way about the third
Media Features:
Reading Experience
Mostly passive interaction by the "reader" as there is no control able to be exerted over the textual environment once it begins. The lines appear at an easily readable rate that invites the reader to try to create meaning between each section of text. There is time for reflection at the end of the piece as the interactor must press "new story" to move on to another narrative. The focus of interaction is primarily based on attempting to establish coherent meaning between the various sections of the narrative which is sometimes, simply not possible.
Analysis/Interpretation
Story Land (ELC) mirrors pop culture in the repetition and recycling of narratives and characters. Sarcasm is present within the characters and situations presented as well as in the the underlying theme of the e-literature. The reader may try to connect the lines of text into a coherent narrative with varied success rates. The interaction with the narrative takes place in a cognitive space and has less to do with sensorimotor input.
Pedagogical Implications
This work could be used as an introduction to digital literature because the formula mirrors elements found in a short story. It could also be used to redefine how we read and make sense of narrative.